The Story of Art: 0000

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Pope Gregory the Great, who lived at the end of 6th century AD… said ‘Painting can do for the illiterate what writing does for those who can read’“ If on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlor.

the painting and engraving of views. The travellers who came to Italy from all over Europe to admire the glories of her past greatness often wanted to take souvenirs with them” Carracci, Reni and their followers.. formulated the pogramme of idealizing or ‘beautifying’ nature, according to the standards set by the classical statues. We call it the neo-classical or ‘academic’ programmes” In the North the question soon faced them whether painting could and should continue at all. This great crisis was brought about by the Reformation” the rich Greeks .. perhaps even the poets and philosophers, mostly looked down on the sculptors and painters as inferior persons. Artists worked with their hands, and they worked for a living … they were not considered members of polite society”the difference between the north and Italy is most clearly marked in architecture. Brunellschi had out an end to the Gothic style .. by introducing the Rennaisance method of using classical motifs for his buildings” why should a painting always show the whole or a relevant part of each figure in a scene?” 026 In Search of New Standards: The later 19th century John Singleton Copley .. was to paint [in 1785] the famous incident when Charles I demanded from the House of Commons the arrest of five impeached members, and when the speaker challenged the King’s authority and declined to surrender them [in 1641]” the International style is perhaps the last international style Europe has seen – at least until the 20th century. In the 15th century art broke up into a number of different ‘schools'”

Delegation bearing gifts ( Persian Achaemenid); c.490 BC; limestone; c.260 x 150cm; in situ, Persepolis ( Iran) [18] many local committees and governing boards, prominent in the life of Dutch cities .. followed the .. custom of having their group portraits painted for the boardrooms and meeting-places of their worshipful companies” he claimed the artists’ right to declare a picture finished – as he said –‘when he had achieved his purpose'” Hence Horace Walpole’s Strawberry Hill country house, that dramatically abandons the norm of a Palladian villaAlthough the artist remains relatively anonymous, Banksy’s art has become some of the world’s most recognizable images. With his signature stencil aesthetic, his creations utilize satire, subversion, dark humor, and irony to create messages for the masses. Caravaggio’s ‘naturalism’, that is, his intention to copy nature faithfully .. was perhaps more devout than Caracci’s emphasis on beauty. Caravaggio must have read the Bible again and again and pondered it’s words …‘Reach hither they hand, and thrust it into my side; and be not faithless, but believing” (St John XX.27) “ Mullins, Charlotte (April 26, 2022). "The lesser-known histories of art: Until now, the story of art has been represented as a single narrative, mostly featuring white males. But there is a whole other side". The Irish Times. he had acquired such facility in handling the brush and paint, in representing nudes and drapery, armour and jewels, animals, landscapes .. he had learnt the art of arranging figures on a vast scale, and of using light and colours to increae the general effect” If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for 65 € per month.

Claude Lorraine “was a perfect master of the realistic representation of nature … it was Claude who first opened people’s eyes to the sublime beauty of nature” it was as the painter of the Catholic camp that Rubens rose to his unique position .. when travelling from court to court as an honoured guest, he was often charged with delicate political and diplomatic missions, foremost among them that of effecting reconciliation between England and Spain” if the ‘Egyptian’ or the child in us remains stubbornly there, why not face the basic facts of image-making honestly?” critics of impressionism let ‘their knowledge of what ‘belongs’ to a man [or whatever the subject maybe] interfere with their judgement of what we really see” Painting of the Egyptian era used a juxtaposition of overlapping planes. The images were represented hierarchically, i.e., the Pharaoh is larger than the common subjects or enemies depicted at his side. Egyptians painted the outline of the head and limbs in profile, while the torso, hands, and eyes were painted from the front. Applied arts were developed in Egypt, in particular woodwork and metalwork. There are superb examples such as cedar furniture inlaid with ebony and ivory which can be seen in the tombs at the Egyptian Museum. Other examples include the pieces found in Tutankhamun's tomb, which are of great artistic value. [19]Carracci ” In Rome, he fell under the spell of Raphael’s works … aimed at recapturing something of their simplicity and beauty … the battle cry of his party .. was the cultivation of classical beauty” Venus of Willendorf; c. 25,000 BC; limestone with ochre colouring; height: 11cm; Natural History Museum ( Vienna, Austria) [10] for the primitive there is no such other world to spoil the illusion, because all the members of the tribe take part in the ceremonial dances and rites with their fantastic games of pretence. They have all learned their significance from former generations and are so absorbed in them that they have little chance of stepping outside them and seeing their behaviour critically” In the past an artist’s ‘work had always been as well defined as that of any other calling. There were always altar-paintings to be done, portraits to be painted; people wanted to buy pictures for their best parlours, or commissioned murals for their villas …. the break in tradition had thrown open to them an unlimited field of choice” The Story of Art is often described as a work that provides an accessible introduction to the subject of art history. [4] [7] [8] [5] Art historian T.S.R. Boase, in The Times Literary Supplement, observed that Gombrich “writes conversationally and intimately." [7] Gombrich himself notes in the preface of the book that he intends to use “plain language” and to minimize “the art historian’s conventional terms." [9] Reception [ edit ]